In this light painting video tutorial Chanette Manso shows us how she uses the 3 Foot Sparkle Fiber Optic From Light Painting Brushes to create Lilies made of Light! Check out the tutorial video and images below Chanette has created using this light painting technique. You can make these lilies anywhere even on the rooftops of New York City! You can see more of Chanette’s work on her Instagram Here and if you want to learn more about light painting in NYC make sure to check out Light Painting New York HERE.

If you are not following the Light Painting Photography of Maria Saggese you are missing out on some incredible and inspiring work. One particular style of Light Painting Maria has become know for her beautiful work with Fiber Optics creating images that are instantly recognizable as her own! I asked Maria if she would share some tips about these awesome works of art and she went far beyond that providing a full tutorial to share! Read on below for the tutorial and if you find it inspiring as I know you will, please make sure to tag #MariaSaggese when posting any images on social media you create using this technique so Maria can see what you are creating!

Light Painting Fiber Optic Tutorial by Maria SaggeseIn this tutorial I am going to explain how to create beautiful silhouettes with fiber optic using Light Painting Brushes system. I will explain how I set up my camera and I will share my technique to create double silhouettes in the same frame. I will also share how to obtain an overlapping effect and a double exposure “evanescence” effect all during a single long exposure photograph!

The tools that I use are the Light Painting Brushes Fiber Optics: There are two versions of the fiber optics a Black & White they both attach to just about any flashlight using the Universal Connector.

To change fiber’s colors I use a Led Lenser P7QC flashlight with 4 colors or the 10 color “Color Shine RGB Flashlight”. You can also customize the color’s fiber by placing some colored gels over any torch you attach to the fiber optics using the Universal Connector.

Set upSet up is simple – just the camera on a tripod focused on the area where my model is.

To focus I turn on the studio lights, focus on the model with the focal length that I am going to use in my picture then I turn off the studio lights. After focusing with the lights on I switch the camera’s focus to manual focus, this will make sure the camera will remain in focus when the lights are off and starting the exposure.

TechniqueAfter starting the exposure, I go behind the model, I turn on my flashlight moving the tips of fiber with a slight movement to outline the figure as a “cloud” or an aura. Starting from the model’s face I slowly outline all parts of the body all the way down to the feet. The most important thing is not to paint with the fibers behind the same area several times, otherwise you will not have a defined silhouette.

Settings for this image: 40 Sec Exposure, F/11, ISO 200. Created using the White Fiber Optic.

To get more cloudy or smoky effect I increase the speed of painting with fiber even light painting in front of the model as seen in the image below.

Settings for this image: 50 Sec Exposure, ISO 200, F/10. Created using the White Fiber Optic.

How to create double silhouetteDuring the same exposure, I first create a silhouette using the techniques described above with one color using the fibers, then I turn off my torch. The model has to move to a new position to reflect on the opposite side. I choose a different color (or the same) to create a second silhouette that will overlap with the first one created.

Settings for this image: 61 Second Exposure, F/11, ISO 200. Created using the White Fiber Optic.

Settings for this image: 140 Second Exposure, F/13, ISO 200. Created using the White Fiber Optic.

Double exposureTo create my double exposure effect I first create my silhouette and then I turn off my torch. Then without a model in the scene I illuminate the background or, in this case, the bed, to obtain an overlapping and “evanescence” effect during the same exposure.Settings for this image: 54 Second Exposure, F/13, ISO 400. Created using the Black Fiber Optic.

Settings for this image: 60 Second Exposure, F/11, ISO 200. Created using the White Fiber Optic.

White or Black Fiber?Personally I love the white one, because the fiber is completely illuminated and not just the tips, with this I get a more nuanced effect, while the black one has a more contrasted and “Scratched” effect. The result is a little bit different for each tool so you can try both and choose your favorite effect.Settings for this image: 35 Second Exposure, F/13, ISO 200. Created using the White Fiber Optic.

Settings for this image: 35 Second Exposure, F/13, ISO 200. Created using the Black Fiber Optic.

If you try this technique please share your work on Facebook and Instagram using the hastag #mariasaggese

I posted the above Light Painting online a while back and I had a bunch of people asking how to make it, its really a fairly simple light painting technique so I made a tutorial to share. Enjoy.

Light Painting Tutorial, How To Light Paint a Light Man
In this Light Painting Photography tutorial Jason D. Page shows how to create a Light Man, or Woman, using a simple technique and tools from the Light Painting Brushes system. This is a technique that can be done when shooting alone or you can use a model to make it even easier. By simply tracing yourself or your model with light during a long exposure photograph you will leave a illuminated light being imprinted on your film or cameras sensor. An easy technique to help create extraordinary images!

Light Painting Photographer Darren Hopkins has been doing some amazing things using his plexiglass light painting tools. The colors and light textures he has been producing are simply beautiful. I asked Darren if he would share some of his secrets with us and he provided this excellent light painting tutorial showing exactly what he is using to create his imagery.

Plexiglass Blade Light Painting Tutorial by Darren Hopkins:

In this tutorial I am going to explain how to get different textures and colors from the plexiglass blades, using simple items to customise them. I will also explain the camera settings I use and the techniques that work for me.

The tools that I use are the Light Painting Brushes Plexiglass Attachments and Patrick Rochon’s Liteblades, customised with colored gels, masking tape, sellotape and cling film.
With the Light Painting Brushes, I cut strips of colored gels to go around the edge of the blades and attach them with the sellotape. Using a combination of different colours on the edges to give an interesting effect when waved. I will also half cover some of the blades with extra large masking tape which gives a smoky/milky effect and is a nice contrast to the vivid edges.

I do a similar thing with the Liteblades. Put little pieces of coloured gels in the connecting part of the blade, again half cover with masking tape and use cling film around the base of the blade.

Set up

Set up is simple – just the camera on a tripod focused on the area where you will be waving the blades.

To set focus you turn the lights on. Mark the area where you will be working. Zoom in pull focus (either on manual or auto focus) once you have the focus set switch the camera to MANUAL focus and then pull back out and frame the shot. Switching the camera to manual focus will make sure the camera will remain in focus when the lights are off.

The camera settings I use are f/11, bulb mode, white balance daylight and ISO ranging from 100 to 320. I usually keep the settings the same and adjust the ISO until I’m happy with the results.
The lens is set at about 28mm for most of the shots (full frame); I stand about 1.5m – 2.0m away from the camera and use a remote to release the shutter.

There are two torches work with Partick’s Liteblades they are the Klarus XT12 and RS11, I use both of them. The Klarus torches have a maximum lumen output of 930 lumens, I sometimes use them on 1/2 power mode to get a pulse width modulation effect.

With the Light Painting Brushes Plexiglass you can use just about any torch attached via the Universal Connector. With the Light Painting Brushes I use the Klarus lights and I also use the LED Lenser M7 with a 400 lumen output.

Technique

The technique is trial and error but I’ve found some movements give more interesting results:

A twisting, stabbing motion towards the camera gives a messy textured look with the appearance of lots of layers and a bit of light flare as contrast.

Dragging the blade from left to right, swirling in the middle, gives a tidier look and can produce nice loops with different colors.

Swinging the blades out towards the lens and back to your body produces an arch of different colors.

I also hold two or three blades in one hand for these techniques, which gives more texture and interesting patterns as the light from one blade passes through another. Using the strobe mode on the torch also adds a different look.

Recently Photographer Erik Christian shared these really cool Light Painting Portraits that he created for the Varsity 845 All-Star Basketball teams. To create these images Erik used a mix of constant light covered with colored gels matching the team’s colors and the pop of a couple of off camera strobes to freeze the motion of the athletes. Check out the images and the behind the scenes video below showing just how these perfectly executed Light Painting Portraits were created.

As we roll on into 2016 the art of Light Painting is growing stronger than ever, and the technology that allows us to capture our work is getting better and better. Even our silly little cellphone cameras are able to capture things we only dreamed of just a few years ago, like Light Painting!

The Light Line Master Darren Pearson, a.k.a. Darius Twin, has been experimenting with his iPhone and various apps to find what works best. Thankfully he has created a video tutorial along with a detailed blog post sharing all that he has learned in his Light Painting experimentation with the camera in our pockets. Check out these radical images that Darren captured on a FREAKING CELL PHONE and the tutorial video below, for all the detailed tricks and tips check out Darren’s website HERE.

This light painting photography tutorial shows how to create a light painting spirograph or physiograms using tools from the Light Painting Brushes system. Spirograph are complex looking light painting that are really easy to create. This is a great project for people just starting out with light painting, also a excellent project for teachers that are interested in sharing the light painting art form with their students. Spirographs are fun and easy to make.

Light Painting Brushes Awesome Light Painting Tools.

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About LPP Founder Jason D. Page

My name is Jason D. Page and I am a light painter. LightPaintingPhotography.com was born out of my passion and obsession with light painting photography. I have been a photographer since the late 1990’s and even before that I have had images in my brain that I wanted to … [Read More...]

The winner for the Light Writing contest is… Hugo Lomas Fernandez, a.k.a. SFHIR for this excellent light writing that also included a camera rotation! SFHIR said this about his winning image! Whooooow great news! Thank you very much, Im very happy to win at my first picture in a contest. The picture was created at […]